Chavin

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Revision as of 23:40, 20 August 2008 by Kolar(Talk | contribs)(/* '''Acoustic Measurement, Archiving, Analysis, Modeling, and Simulation/Installation''' – A collaboration between Stanford University's Center for Computer Research in Music and Acoustics (CCRMA) an)

Chavín de Huántar Archaeological Acoustics Project

Acoustic Measurement, Archiving, Analysis, Modeling, and Simulation/Installation – A collaboration between Stanford University's Center for Computer Research in Music and Acoustics (CCRMA) and Archaeology/Anthropology

Chavín de Huántar is a monumental World Heritage archaeological site [1] in the Peruvian highlands predating Inca society by over 2000 years. Since 1995 Professor John Rick of Stanford University and teams have been excavating the site [2], revealing peculiar and unique architectural features in both surface and underground structures. It is the underground structures, a complex of labyrinthine galleries, corridors, shafts and drains, built of cut stone block, that are of particular interest to this project, because explanations for their purpose and function have led to Rick’s hypothesis that they were constructed, at enormous cost in labor, to establish social hierarchy through sensory manipulation in the context of religious ritual: a priest-elite over the novitiates. Most of these underground galleries are original; walls, ceiling, and floor are still present and complete -- an unusually intact condition for ancient architecture.

In 2001, twenty intact engraved, identically prepared Strombus (conch) shell trumpets were discovered by Rick in a gallery at Chavín, reinforcing his hypothesis that the acoustic properties of the site were fundamental to ancient ritual and perhaps even a determinant in architectural layout and design. What are the sonic characteristics of these trumpets and architectural structures? What can be determined regarding the relationship between the Strombus trumpets and the acoustic features of the site? Is there evidence of intentional acoustic design in Chavín architecture, and what would it imply for ancient cultural abilities and political strategies? Acoustic measurements, analysis, and models will help answer such questions, providing Rick with data to elaborate and refine his hypothesis regarding the importance of sensory manipulation in Chavín ritual.

Since an important area of research at CCRMA is computational physical modeling of acoustic sources and reverberant spaces, we saw the opportunity to join two disciplines with the purpose of extending Rick’s team’s mappings and CAD renderings of Chavín to include computer simulation of site acoustics, using recorded excitation sources such as Strombus trumpets, rushing water through canals, and human voice. Acoustic measurements and models of a site can be used to archive site acoustics, estimate the acoustics of inaccessible or alternative site architectures, and reconstruct original site acoustics; they may also be used to corroborate aspects of rituals suggested by other archaeological data. Measurement and modeling may be used to understand the implications of auditory experiences within these galleries as related to the role of the site in developing religious authority.

The site's intact enclosures, primarily without post-period modification, allow for acoustic measurements that reflect original conditions. Such an opportunity to research and archive unmodified ancient architectural structures is rare and timely: Chavín de Huántar is an important tourist attraction, and upcoming required site conservation work will inevitably cause irreversible alteration of its acoustics. It is therefore imperative that onsite measurements be made soon, precisely, and thoroughly. Our team is scheduled to begin acoustic field work in September 2008.

Schedule/Planning

Our project is divided into three phases as noted in the timeline below.

Phase 1, in progress since autumn 2007, has involved planning, data collection, analysis, and work on an invited paper to be presented at Acoustics08 in Paris this July; Phase 1 will culminate with field work in
Peru to generate a comprehensive acoustic analysis of the site, its materials (to include collaboration with an Earth Sciences specialist) and musical instruments. The academic and creative work of Phases 2 and 3 will not be possible without this
data collection. The models developed in Phase 2 will provide a rich research base with which to
simulate and evaluate a variety of acoustic conditions, architectural geometries, source
placements and listening positions. In order to provide a public interface during Phases 1 and 2, a
website chronicling the developing work and ideas using sounds and images will be constructed
and maintained. Phase 3 will be a site-independent simulation to reconstruct the auditory-visual
experience of the original galleries, exhibited at Stanford and potentially also in the Chavín
museum in Peru.

Collaboration with relevant specialists will be approached as the project progresses, including expert shell performers, ethnomusicologists, psychoacousticians, and others. We would like to develop and/or consider other opportunities for engaging the academic community with our work in progress. Related creative projects are anticipated and will be encouraged throughout all phases.